Pastoral Resources

On set is where I feel comfortable. The red carpet stuff, talking about the film, explaining your own life, it doesn't come naturally. It's all necessary stuff I suppose but it's not my strength.

I knew nothing about football, then someone showed me a film of Petit and I realised how interesting the game could be. He is divine. When I met him I could barely speak, he was so gorgeous. Women will love that show.

I always prefer the big laugh. That is always the objective, especially with a film like Scary Movie 2.

We did a lot of press for the last film and now for this one. We don't rest on our laurels.

If you don't generate tension in the film to begin with... you can't really make a purse out of a sow's ear, you know.

I think I have always tried to do the smaller films. I like to jump around and there is something really nice for acting in a smaller film. But I think now, Hollywood's movies certainly involve a younger generation for the most part and so... I love going back and forth.

I wanted to play a mother again. I thought it would be interesting to play the mother of an older child. And it was also the kind of part I've been looking for my whole career, actually, in film. You know, just to play a femme fatale who's very smart, and wicked.

One of the reasons I did this, because I wasn't really looking for another science fiction film, was that my daughter can see it. She's 9 and it's really a good film for all ages.

I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.

I think that the wonderful advantage we have in the film of being able to cast a girl as young as Emmy and which we couldn't do in the theatre of course because no girl of 16 or 17 could sing 8 shows a week, couldn't sing two.

I began to think, now is the time. I found quite a lot of opposition in Hollywood about the idea of doing a film musical and we ended up having to buy the rights back. I'm glad we did because it meant John and I were able to make exactly the movie we wanted.

I knew nothing about film at all. I suppose the biggest surprise is all these things. In the theatre we sort of do, I might do two or three key interviews and that would be it.

This technology will obviously become more prevalent. Who knows what will result? One thing is certain, computer technology will revolutionize the way we tell stories as much as movie film has.

People are so wonderful that a photographer has only to wait for that breathless moment to capture what he wants on film.

This is unexposed film of Greenwich Village because nothing ever happens there.

National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood sense.

I'd love to have another film to go on to. I'm in the mood to work. But I have to be patient, you know, to find that particular kind of project. Occasionally I'll write one myself if I can summon up the energy.

Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.

As Ralph's character begins to discover the political thriller aspect of the film, he falls deeper in love with his wife, so the two run together. That's the beauty of this film. It has fast pace and excitement, but it also has heart and soul.

A film is never really good unless the camera is an eye in the head of a poet.